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Drawing: Woodcut, Paper, Ink, Thread on Paper, Soft (Yarn, Cotton, Fabric).
Transcendental Aesthetic III follows on from Transcendental Aesthetic I and II. This three part series is based on images of Brigitte Bardot taken by Sam Lévin between 1959–1963, which Bardot said ‘…managed to capture my quintessential natural, reliable and sometimes even sublime beauty…thanks to him I will remain in the eyes of the world eternally beautiful, young and unforgettable’, (Sam Lévin, 2001, p. 6).
Part I was visualised during two concerts at Milton Hall, London, 2016; Bach’s Mass in B Minor in late October and select pieces from Beethoven’s later works, in early November, a three part series of ‘Late Style’ piano curated and performed by American pianist Jonathan Biss.
Part II and III mirror Biss’s three part series of ‘Late Style’ piano concerts. Part II was influenced by the Schumann’s Op133 and Brahms Op 118, performed in late March 2017 —exploring aspects of time, space and memory. Part III has direct ties to the May 2017 recital of Schubert’s D959 and D957 — expressing a sense of the fragmented, melancholic and nostalgic.
Use of colour in Part II and III were incited/motivated by Josef Albers ’Sunny Side Up’ show, which took place at the David Zwirner Gallery, London, in early 2017.
Lévin, S. (2001). Brigitte Bardot par Sam Lévin. France: PC Editions